- Gebundene Ausgabe: 208 Seiten
- Verlag: Knopf (28. Oktober 2003)
- Sprache: Englisch
- ISBN-10: 0375409440
- ISBN-13: 978-0375409448
- Größe und/oder Gewicht: 16,7 x 2,3 x 24,2 cm
- Durchschnittliche Kundenbewertung: 3.0 von 5 Sternen Alle Rezensionen anzeigen (1 Kundenrezension)
- Amazon Bestseller-Rang: Nr. 357.498 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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The first page of Toni Morrison's novel Love is a soft introduction to a narrator who pulls you in with her version of a tale of the ocean-side community of Up Beach, a once popular ocean resort. Morrison introduces an enclave of people who react to one man--Bill Cosey--and to each other as they tell of his affect on generations of characters living in the seaside community. One clear truth here, told time and again, is how folks love and hate each other and the myriad ways it's manifested; these versions of humanity are seen in almost every line. Monsters and ghosts creep into young girls' dreams and around corners and then return to staid ladies' lives as they age and remember friendships and cold battles. Men and women--Heed, Romen, Junior, Christine, Celestial, and the rest of Morrison's cast--cry and sing out their weaknesses and strengths in rotating perspectives. Sandler, a Cosey employee, is a brilliant agent of Morrison's descriptions of human behavior, "Then, in a sudden shift of subject that children and heavy drinkers enjoy, 'My son, Billy was about your age. When he died, I mean.'" And Romen is allowed to play hero by saving a young girl from a brutal gang rape, while at the same time, he battles disgust like no superhuman would be caught dead feeling.
Though slim in pages, Morrison constructs Love with a precision and elegance that shows her characters' flaws and fears with brutal accuracy. Love may be less complex than others in the grand Morrison oeuvre, but not because Morrison performs literary hand-holding. Readers will experience in this smooth, sharp-eyed gem another instance of the Toni Morrison craftsmanship: she enters your mind, hangs a tale or two there, and leaves just as quietly as she came. --E. Brooke Gilbert
From Booklist
*Starred Review* Despite the simplicity of its title, Love is a profound novel. A Nobel laureate must feel considerable pressure to keep performing on a higher level than other writers. With her latest novel, Morrison slaps our face with the fact that she is better than most. The book has the tone of an elegy, for it emerges as a remembrance of and yearning for past times and past people in a black seaside community. There were days, back in the 1940s and 1950s, when the Cosey Hotel and Resort was the place for blacks to vacation, dance, and dine. Bill Cosey, a charismatic figure greatly attractive to women, ran the resort. But now Bill is dead, and the story is, as we see, not only a paean to past good times but also a portrait of Bill Cosey's power. Unusual for blacks at the time, Bill did enjoy power, both economic and social, for as far as the boundaries of his coastal town reached--his kingdom by the sea. Now, in his absence, the women in his life jockey for their own power in the vacuum he left behind; their world now revolves around his will, scribbled many years ago on a dirty menu. The novel's section headings tell the tale of the different roles Bill played in these women's lives: friend, benefactor, lover, and husband, among others. At least in her later novels, Morrison can stand to be criticized for obscurantism, which is also the case, to a certain degree, here; in fact, readers may want to compose a chart as they read, to keep characters and their relationships to each other straight. But as a vivid painter of human emotions, Morrison is without peer, her impressions rendered in an exquisitely metaphoric but comfortably open style. Brad Hooper
Copyright © American Library Association. All rights reserved
Copyright © American Library Association. All rights reserved
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The day she walked the streets of Silk, a chafing wind kept the temperature low and the sun was helpless to move outdoor thermometers more than a few degrees above freezing. Lesen Sie die erste Seite
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Format:Taschenbuch
Toni Morrison is incapable of writing bad novels. Still, "Love" is among her weaker works. The problem is not so much the disjointedness of the narrative; it is rather that for a long time, the reader just has no clue what to focus on. Will Sandler and Vida be integral to the plot? Is there more to the connection between May and Bill Cosey? How will Junior figure into the whole setup? Unfortunately, there is a sense of the inconsequential lingering around most of the characters, and I was slightly taken by surprise who would turn out to be the central love story. Still, there is some of the usual Morrison magic at work in "Love". As usual, she comes up with a few amazing character names such as "Junior" (for a woman), "Heed the Night" and "L". Also there is a lot of poetic language to be found, but not to the degree displayed in her master pieces "The Bluest Eye" or "Beloved". I will certainly not discourage anyone from reading this book, but if there are other Morrison books you haven't read, focus on those first.
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Another Great Novel
9. Dezember 2003
Format:Gebundene Ausgabe
No living author with the possible exception of Gabriel Garcia Marquez has better opening lines than Toni Morrison. For dead writers, she ranks with Melville, Camus and Tolstoy for that honor. LOVE begins with these words: "The women's legs are spread wide open, so I hum. Men grow irritable, but they know it's all for them. They relax. Standing by, unable to do anything but watch, is a trial, but I don't say a word." When Morrison finishes her story about 200 pages later, we have met a host of unforgettable characters, mostly women-- Heed, Christine, May, Junior, Vida, L, all who are obsessed with one Bill Cosey. I always marvel at the strength of Morrison's characters. Although they often face untold hardships, they seldom whine and often prevail. As usual, Morrison's plot is not linear but goes back and forth in time from the Civil Rights era to before and after that time. We get the story little by little and ultimately get the whole story, and what a story it is.
The book obviously is about love. Although there are other kinds of love here-- erotic love, lust masquerading as love-- the central love is that between two children, a love that was ruined by grownups. Years later as adults Heed and Christine finally get around to talking about their lost opportunities: "We could have been living our lives hand in hand instead of looking for Big Daddy everywhere."
There are memorable lines throughout the novel. Christine opines that "her last good chance for happiness [is] wrecked by the second oldest enemy in the world: another woman." Cosey says that "you can live with anything if you have what you can't live without." Finally, Sandler in a lecture to his teenage son gives a moving tribute to women: "A woman is an important somebody and sometimes you win the triple crown: good food, good sex, and good talk. Most men settle for any one, happy as a clam if they get two. But listen, let me tell you something. A good man is a good thing, but there is nothing in the world better than a good good woman. She can be your mother, your wife, your girlfriend, your sister, or somebody you work next to. Don't matter. You find one, stay there."
On of the joys of living now is reading a new Toni Morrison novel. May she live long and write many more!
17 von 19 Kunden fanden die folgende Rezension hilfreich
Absolutely Lovely
5. November 2003
Format:Gebundene Ausgabe
I can never really put my finger on it but whenever I've finished a Morrison novel, I'm left nursing a range of emotions from awe to despair. I'm left pondering what the book was all about, which forces me to exam more closely the themes, characters, and conflicts of the novel. The end result of this closer examination is always a better understanding of self and a richer appreciation for others.
In Morrison's latest novel, the author examines the consequences of perhaps the most sought after emotion in human existence. Love, and its various faces - hate lust, envy - is set during the 1950's in an ocean side town where Bill Cosey owns a resort that caters to middle and upper class blacks. Heed, Christine and May are the primary characters. L, a narrating spirit and former employee of the resort, provides background and insight into the other characters motives in a voice that resonates with truth and love. Heed and Christine share a pure unconditional love that bonds the two in friendship until Bill, Christine's grandfather, takes Heed as his bride. Bill, at age 52, purchases the 11-year-old Heed from her parents in hopes of obtaining a pure and virginal vessel to bear him a son to replace the one he lost to death. May, Christine's mother, sees Heed as a threat to the family's upper-class lifestyle and does everything in her power to disgrace the child bride. The love once shared by Heed and Christine is quickly turned into a life consuming hatred as May enlists Christine in her campaign against Heed.
Morrison unleashes, with grace and assurance, the literary skills she has cultivated over the course of her career. She is a master at telling a story from the inside out. Love, with wonderfully drawn characters and imagistic prose that nearly leaps from the page, is a splendid compliment to the author's literary canon. The novel is thin but deep. The only thing better than reading a Morrison novel is having a few people to discuss it with. Curl up and enjoy!
9 von 9 Kunden fanden die folgende Rezension hilfreich
Simple title. Complex book
19. November 2003
Format:Gebundene Ausgabe
Toni Morrison is without peer; and she just keeps getting better and better. In Love (have you EVER heard a more audacious title?), Morrison crafts a rich and dense novel that illuminates the full spectrum of desire. Bill Cosey, a charismatic dude if ever there was one, ran a ritzy seaside resort for African Americans in the wild and wooly 40s and 50s. But now he's dead, and the story becomes a portrait of his power, unusual for black men of his times, and its effect on those who came after him.
Women. Oh, where would this story be without women? In Bill's wake, the women of his life vie for position, scrabbling over the will he wrote eons ago on a throw-away menu.
If you love Toni Morrison's rich writing style, you won't be disappointed, but you might want to keep a pen and pad of paper handy to keep track of the loooong list of characters.
Women. Oh, where would this story be without women? In Bill's wake, the women of his life vie for position, scrabbling over the will he wrote eons ago on a throw-away menu.
If you love Toni Morrison's rich writing style, you won't be disappointed, but you might want to keep a pen and pad of paper handy to keep track of the loooong list of characters.
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